Nanobass

REFERENCE MANUAL
by Connor Freff Cochran 1997 Alesis Corporation
NanoBass Reference Manual 1

Unpacking and Inspection

Your Shipping Carton Should Contain The Following Items: 1 NanoBass 1 AC power adapter 1 rackmounting screw 1 Alesis warranty card 1 Reference Manual 1 Program Chart
If anything is missing, please contact your dealer or Alesis immediately. PLEASE NOTE: The warranty card is important. Really. Dont just throw it away. Well be able to take better care of you now, and serve you better in the future, if you fill it out and send it in.

ALESIS CONTACT INFO:

Alesis Corporation 3630 Holdredge Avenue Los Angeles, CA 90016 phone: 1-800-5-ALESIS (800-525-3747) e-mail: alecorp@alesis1.usa.com website: www.alesis.com
1997 Alesis Corporation All Trademarks property of their respective holders.
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Welcome!

Musician jokes are legion, but the one that comes to mind right now runs as follows: Stanley and Livingstone, on trek through the jungles of darkest Africa, are awakened one night by the distant, maniacal pulsing of tribal drums. Unable to return to sleep, they leave their tent and make themselves a cup of tea at the campfire. The drums continue for hours, finally stopping at dawn. At noon that day, while taking a break from hacking a path through the thick vegetation, the two British explorers finally get to ask one of the bearers about the drums. The man becomes extremely agitated. When pressed on the subject, he says only one thing: Oh no, no. Drums no problem. Much worse when drums stop. That night the two explorers are woken again by the drums, and the night after that as well, but no matter how hard they push for an explanation all they hear, again and again, is the same useless reply: Oh no, no. Much worse when drums stop. Finally, exhausted from lack of sleep, unable to go further, they give up and turn the expedition around, returning to their base at the nearest trading outpost. All the way back the bearers seem much relieved. Immediately on arrival, the explorers seek out the chief from whom theyd hired the bearers and demand an explanation. Oh no, no, the old man says, Drums no problem. Much worse when drums stop. Yes, old bean, weve got that part, snarls Stanley. Meanwhile Livingstone loses it, screaming But why is it worse when the drums stop!? Bass solo, says the chief. (Just kidding. Some of my best friends are bassists, I swear it.) You are now the proud owner of a tremedously powerful little box. Inside it you will find 256 truly extraordinary bass programs, all constructed from linear, noncompressed 48kHz 16-bit samples that are stored in four megabytes of on-board ROM. Electric basses, acoustic basses, synth basses, clavinet basses.theyre all here, and more, in an incredibly low cost/zero hassle package. And while Im grinning, let me also mention some other things I particularly appreciate about the unit like 64 voices of polyphony, the same built-in NanoBass Reference Manual 3
multieffects chip that Alesis uses in their Q2 pro-class signal processor, complete MIDI control, and incredibly simple operation. Have a blast! Connor Freff Cochran April 1997
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TABLE OF CONTENTS

WELCOME! TABLE OF CONTENTS 0. WE INTERRUPT THE MANUAL IN PROGRESS. Important Safety Instructions Instructions To The User 1. CONNECTIONS Power Audio MIDI As A Single Slave (the IN Jack) As Part Of A Chain (the OUT/THRU Jack, Pt. 1) Limited Computer Editing (the OUT/THRU Jack, Pt. 2) Rackmounting 2: INSTANT FUN Demo Sequence Playing It Yourself 3: GET TO KNOW YOUR NANO The Specs What They Mean When They Say 64 Voices Why In The World Would I Want 64 Voices Of Bass? The Front The Back The Programs The Sound ROM 4: MIDI RULES The Basics The Not-So-Basics 29-61 62-68 69
NanoBass Reference Manual 5
MIDI Implementation Chart 5: APPENDIX Creative Tips 6: CREDITS

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0: We Interrupt The Manual In Progress For Some Stuff You Might Not Feel Like Reading, But Which Has To Be Here Anyway
Important Safety Instructions Instructions To The User
Many of you no, lets be honest, most of you are going to skip over this section. Thats probably okay, assuming youve had prior experience with audio gear and electronic instruments. This is basic stuff that you most likely already know. Feel free to leap to the next section (CONNECTIONS) and begin hooking up and playing your new NanoBass. Beginners, however, are strongly advised to read the Important Safety Instructions. A little basic knowledge is a good thing.
NanoBass Reference Manual 7
Important Safety Instructions
WARNING When using your NanoBass, certain precautions should always be followed, such as: 1) Read all the instructions first. 2) Do not use your NanoBass near water. Why? Water is a terrific conductor of electricity. You risk damaging your NanoBass and shocking yourself if you use it near things like bathtubs, washbowls, and kitchen sinks, or in wet basements or around swimming pools. 3) Your NanoBass doesnt make any sound by itself no built-in speakers but be careful when you are setting the volume levels of anything you plug it into. If your amplifier, headphones, or speakers are set too loud, then you could produce sound levels capable of causing permanent hearing loss. Thats permanent as in forever, which is definitely not something you want. So be cautious. Dont play your NanoBass for long periods of time at uncomfortably high volume levels. And if you ever experience any hearing loss or ringing in your ears, consult an audiologist immediately. 4) Dont put your NanoBass on or near any radiators, heat registers, or other strong heat sources. 5) The wall-wart AC power supply for your NanoBass should be unplugged from the outlet whenever the unit is going to go unused for a long period of time. 6) Be careful that you dont drop things on, or spill liquids into, your NanoBass. (If you have to drink something while in the vicinity of your NanoBass, then avoid glasses and soda cans in favor of portable plastic bottles with quicksnap lids, like the kind youd use when bicycling or at the gym.) 7) If for any reason your NanoBass is damaged, or stops working, dont try to fix it yourself. All repairs should be handled by Alesis-qualified service personnel. If the store where you bought your NanoBass cant help, contact Alesis directly for the name and number of the authorized service location nearest you.
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Instructions To The User

This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try and correct the interference by one or more of the following measures: _ _ _ _ Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.

This equipment has been verified to comply with the limits for a class B computing device, pursuant to FCC Rules. In order to maintain compliance with FCC regulations, shielded cables must be used with this equipment. Operation with non-approved equipment or unshielded cables is likely to result in interference to radio and TV reception. The user is cautioned that changes and modifications made to the equipment without the approval of manufacturer could void the users authority to operate this equipment.
NanoBass Reference Manual 9

CE Conformity Page

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1: CONNECTIONS

Power Audio MIDI Rackmounting
In this section, Ill show you how to put it all together.
TIP: Dont discard your NanoBass box and packing materials. Instead, tuck them away someplace safe (they wont take up much room). In the unlikely event that you need to return your unit to your dealer or to Alesis for servicing, theyll come in handy.
NanoBass Reference Manual 11
Included with your NanoBass is a wall-wart style power adapter which is already set for the voltage of the country your unit was shipped to. Connecting it is simple: just insert the prongs on the wall-wart end into an electrical outlet, and the single plug on the adapter end into the 9VAC~ POWER jack on the NanoBasss back panel.
Thats all it takes. Be aware, though, that there is no ON/OFF switch on the NanoBass. Whenever it is plugged into an active outlet, the unit is on. (To check this, look at the POWER indicator LED on the front panel. It will glow whenever your NanoBass is getting electricity.) Leaving your NanoBass on all the time wont hurt it. You wont use up much electricity, either, since the NanoBass operates on a miniscule amount of power. If youd prefer to turn the unit off when you arent working with it, instead of leaving it on, theres a simple solution. Plug the unit into a power strip with a built-in ON/OFF switch, and use the power strip switch to turn off the juice when required.
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There are two quarter-inch audio output jacks on the back of the NanoBass. One of them is marked LEFT and the other is marked RIGHT. To get set up for audio, just run mono audio cables from these outputs to the corresponding LEFT and RIGHT input jacks on your mixer, amplifier, power amp, or powered speakers.
In a pinch you can get by with hooking up only one of the audio outputs, but I dont recommend it. If you do that youll be missing out on half the true-stereo sound in each program, not to mention big chunks of stereo reverb and effects. If only one audio jack is in use, then the NanoBass automatically sums its output signal to mono. And besides with all the money you saved buying the NanoBass in the first place, you really ought to be able to afford two audio cables (preferably good ones). TIPS: Here are some things to avoid when working with audio cables. You experienced folks should check these out, too, instead of rushing ahead, because this is an area where you may know less than you think you do. (I cant begin to tell you how many supposedly professional musicians and recording engineers Ive seen break the following rules, to their very real regret.) _ Do NOT bundle audio cables and AC power cords together. The field from the alternating current in the power cord will leak through even well-shielded cables, inducing noise and distortion in your audio signal.

NanoBass Reference Manual 13
Do NOT run audio cables near other sources of obvious electromagnetic interference such as monitors, computers, and power transformers (including the wall-wart end of the NanoBasss own AC adapter). Do NOT run audio cables where they can be stepped on or tripped over. Falling and hurting yourself is an obvious danger, of course. Less obvious is the invisible damage done to the cable itself. Every time you step on a cable you compress the insulation between center conductor and the shield, degrading performance and reducing the cables reliability. You may not notice a problem right away, but eventually you will. Do NOT twist the cable if you can possibly avoid it, or force it to make sharp right angle turns. Doing these things will damage the insides of the cable even faster than stepping on them. NEVER unplug a cable by pulling on the cable itself. This puts a dangerous strain on the soldered connections between the cable and the plug, and can easily make a cable go bad (or at least intermittent) on you. The proper way to take a plug out of a jack is the same way you put it in with a firm grasp on the body of the plug itself. ALWAYS keep your plugs and jacks clean and unoxidized. Occasional use of solvent cleaners like Tweek and Cramolin, which are available at any electronics shop, can greatly improve the electrical contact between your connectors.
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Ten years ago MIDI was still a strange new thing to most musicians and computer users. Not any more, so Ill keep this part short. The basics: MIDI stands for Musical Instrument Digital Interface, which is a 16channel serial data exchange and control system for musical devices. MIDI works by supplying a way for the microprocessors in your various electronic musical devices to pass messages back and forth over a special network of cables. These cables, which are used only for MIDI data and nothing else, plug into special five-pin DIN jacks which are typically labeled IN, OUT, and THRU. The IN jack receives MIDI data. The OUT jack transmits it. And the THRU jack automatically echoes and re-transmits whatever data is being received at the IN jack (this last function has a special use Ill get to in a minute). One of the important things to remember about MIDI is that data flow is strictly one-way. Make sure you always plug the OUT jack of one instrument into the IN jack of another, and vice-versa. The other choices OUT to OUT, or IN to IN wont work. If youll look on the back of your NanoBass youll see that it doesnt have an IN, and OUT, and a THRU. Instead it has an IN and a combined OUT/THRU. There are good reasons for this: (1) the NanoBass doesnt have a built-in keyboard or anything else to play, so it doesnt really need an OUT jack; (2) combining OUT and THRU jacks saves a little on the cost, bringing the units price down; and (3) it makes the back panel less crowded. How should you hook your NanoBass into your MIDI system? That depends on how you intend to use it.

AS A SINGLE SLAVE (the IN Jack)
To play your NanoBass directly from any MIDI source keyboard, drum pads, woodwind controller, guitar controller, computer, etc. just run a MIDI cable from the MIDI OUT of the controlling device to the MIDI IN jack on the back of the NanoBass. Then turn the NanoBasss MIDI CHANNEL knob to the same MIDI channel (from 1-16) that the controlling instrument is transmitting on. PLEASE NOTE: This is important to remember. The NanoBass can only respond to one MIDI channel at a time. If it is set to receive on MIDI channel 2, NanoBass Reference Manual 15
for example, it will ignore MIDI messages coming in over channel 1, or channels 3-16.
To make sure the NanoBass is receiving data, play the controlling instrument while watching the MIDI indicator LED on the NanoBasss front panel. If everything is set properly, the LED should light up. If you dont see the light, double-check your cable connections and MIDI channel settings.
AS PART OF A DAISY-CHAIN (the OUT Jack, Part 1)
When you want to control several MIDI devices at the same time, there are two ways to do it. The first is to buy a MIDI interface with multiple OUTs, and then run separate MIDI cables from this interface to all the different devices. This is called a star network and it is the preferable way to go, if you can afford it. The second way is to daisy-chain several units together.
A daisy-chain is where the OUT/THRU jack on the NanoBass comes into use. After connecting the controllers OUT to the NanoBasss IN, youd continue the 16 NanoBass Reference Manual
chain by running a MIDI cable from the NanoBasss OUT/THRU to the next instruments IN jack, then another cable from that instruments THRU to the next instruments IN, and so on down the line until you were finished. Now when you play your controller, each device will respond to the MIDI data and pass it on down the line. PLEASE NOTE: As a general rule of thumb, daisy chains should be no longer than three instruments in a row. Any more than that and you risk accumulating data transmission errors that could cause stuck notes, unexpected program changes, and inaccurate control. In really big MIDI setups, you might find yourself combining a basic star network with selected short daisy-chains, usually of instruments which you either cant (or dont want to) edit with your computer. Which brings us to.
LIMITED COMPUTER EDITING (The OUT Jack, Pt. 2)
The NanoBasss 256 programs are stored on the circuitboard as EPROM data, and cant be changed. You can still use a computer, though, to edit one program at a time. Heres the trick. If you connect your computers MIDI OUT to the NanoBasss MIDI IN, and the NanoBasss OUT to the computers IN, then you can use a commercial librarian/editor program (such as Mark of the Unicorns Unisyn) to edit the contents of the NanoBasss edit buffer. This would allow you, for example, to change the samples in a program, pick a new LFO waveform, adjust its attack envelope, radically alter its effects settings, and so forth. Then you could save this new program in your computer and download it into the NanoBasss edit buffer any time you wanted. What you cant do is permanently store this changed sound in the NanoBass itself, because the unit has no battery-backed RAM. Whatever editing you did would vanish when you turned the units power off.

Rackmounting

Your NanoBass will sit happily on any flat surface, and thanks to its four rubber feet it wont slide around too much (even though it's so light). But if you are interested in a more secure and permanent installation, then rackmounting is the way to go. NanoBass Reference Manual 17
On the underside of your unit you will find a mounting nut already built into the box. This nut is positioned so it will line up with the hole in most standard rackmount adapters for one-third-rack sized products. Simply place the NanoBass on the adapter tray, line up the mounting nut with the hole in the adapter, and screw the unit into place using the mounting screw that came with your NanoBass at purchase. Your local music store can certainly supply you with an adapter that will work to mount your NanoBass into a rack. Ask for a single-space rack shelf, rack tray, or universal rack adapter, and make sure it has pre-drilled holes in the bottom that match up with the NanoBasss mounting nut.
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2: INSTANT FUN

Demo Sequence Playing It Yourself
Once youre set up, this section will show you the two quickest ways to explore the programs in your NanoBass.
NanoBass Reference Manual 19

Demo Sequence

Built into your NanoBass is a musical demo showcasing seven of the units 256 programs, one after the other. To run it: 1) 2) Make sure your audio is hooked up and the power on. Set the CHANNEL, CATEGORY, and PROGRAM knobs straight up, to the twelve oclock position. Set the EFFECTS knob all the way counter-clockwise. Then. Turn EFFECTS all the way to the right in one quick turn.
At this point the MIDI indicator LED will turn on, and you will hear Dave Bryce and Taiho Yamada wig out on bass. (The reason the indicator light is flashing is because the demo is playing from MIDI data stored in the NanoBass ROM.) To shut the demo off, either turn the EFFECTS knob all the way to the left again in one quick turn, or turn the units power off. Having an on-board sequence like this is useful because it allows you to check your NanoBass at any time in order to make sure its working, and to help set audio levels during soundchecks or recording sessions.
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Here are the seven different programs, in order, just in case you particularly like one and want to find it quickly:

BANK SELECT

MIDI PROGRAM

CATEGORY SETTING

KNOB NUMBER

PROGRAM NAME

0 or or or or 2

121 002

NanoBass Reference Manual 27

The Back

The back of the NanoBass has five connectors: one for power, two for MIDI, and two for audio. POWER: This jack supplies electricity to the NanoBass through the 9-volt AC adapter supplied by Alesis. MIDI OUT/THRU: The only original MIDI messages sent out by this 5-pin DIN jack are certain responses to commands from an external source (sequencer, editor/librarian, etc.). At all other times what it does is automatically echo and retransmit any MIDI data entering through the MIDI IN jack. MIDI IN: This 5-pin DIN jack receives incoming MIDI data from external sources and controllers. LEFT/RIGHT OUTPUT: These are the main audio outputs of the NanoBass. Use the Left output alone if you need a mono output.
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The Programs and ROM Sounds
On the following pages you will find reference charts for all 256 NanoBass programs, organized by category. The chart shows the MIDI bank select command and MIDI program number for each program, its number on the front panel PROGRAM knob, and its name. There is also a space for you to write in notes of your own regarding what you think of each sound, or any ideas you might have for using it.
NanoBass Reference Manual 29

Acoustic

BANK SELECT MIDI PROGRAM KNOB NUMBER PROGRAM NAME
0 or or or or or or or or or or or or or or or or 1

014 015

Acoustic 1 StereoAcou VeloAcoust Acoust Prs Prc Acoust Acoustic 2 UpriteJazz Acoustic 3 Upright 1 Upright 2 UprightVel Pick Me PickMeLite Stinger AcouPickup VelAcouSlp
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NanoBass Reference Manual 31

Fretless/Harmonic

030 031
Fretless 1 Fretless 2 WalkinBass Fretless 3 Don'tFret1 Don'tFret2 ChrFretles Fret Not Reggae Ballad Popless Missisippi SteelBass1 Harmonics1 Harmonics2 Harmonics3
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NanoBass Reference Manual 33

Elec 1

046 047
Jaco Stanley JazzFingr1 JazzFingr2 JazzPick 1 Jazz Pick 2 PrecisThmb Pea Bass 1 Jazz Velo Cutter JazzPick 3 ClearFrets Pea Bass 2 Fingered StudioBass Deep Bass
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NanoBass Reference Manual 35

Elec 2

062 063
SteelBass2 Fat Bass 5 String 5 String V MW Xfade Thunk Big Pick SurfBassMW Muted Bass PaperFrets 3VeloLayr1 3VeloLayr2 3VeloLayr3 Slp/Studio Slap/Harm Slap/Pop
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NanoBass Reference Manual 37

Elec 3

078 079

Pfilter 1 Pfilter 2 Pfilter 3 SharpStick SharpStik2 StickComp2 Harm/Stick FlangeBass FlangeBas2 Dist Bass Fuzz Bass Harmn/Pop Pop'nFresh BostonPops Slide Release
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NanoBass Reference Manual 39

094 095

JazzSlaps Slap Combo PeaBassPop AcousSlap GothamBass Fuzz Slap 5StrngSlap LowEndSlap Velo Slap Funkman FretFuzz Dubble FM FM Bass1 FM Bass 2 Deep Clav ClassiClav
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NanoBass Reference Manual 41

110 111

Funky Acid Acidous Fast Sweep Super Rez Gargoyle Dragon HyperActiv RaveSaw MW RaveSqr MW Bad Acid MW Sweep 1 Woozy Heavy Rez Syndicate Oh3TomBass Trance 1
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126 127

Trance 2 VeloTrance DeutschBas Bessie Woody Triangle UnderDub Bombastic In The Bag HollowBass 501 Euro Bass Quack Ultra Deep House ArndsHouse
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SuperBoom Super Saw SuperNotch Super Band Super Sqr BigAcoustic T-Wah Purrrr DarkHelmet Combo Mono Uniperc V Rez Pluck Chirp 1 Chirp 2 Too Cool Xtra Funky
NanoBass Reference Manual 47
48 NanoBass Reference Manual

Industrial

Vel Sweep Mega Rez RubbrPhase Lo Megarez Hi Tek IndstryRes Sharpness Thwap Hyper Tech 1 Tech 2 Tech 3 Res Tube Stereo ! Nazty CyberBass
NanoBass Reference Manual 49
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NanoBass Reference Manual 51

Synth 1

Buzzz BuzzStack Wide Bass Triple Osc Press 5th VeloFunk Cognitive SqrTrance AnalogSqrV VeloFilter ResModWhl! Filter Wow SynthBass1 Fat Man Shark Bumper
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Synth 2

Uni Stevie Uni Chords Uni Pluck Way Cool Modular M Chirp 3 SeqBass 1V Fat Mini Cool Fat Trap Bass Spike Bass Ana Mega Funk SynBs Rezidue Mute Bass
NanoBass Reference Manual 55
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NanoBass Reference Manual 57

Synth 3

FM Bass Larger FM Fuzz Pluck Pulse Bass Box Synth AT Bass 1 Snappy M AnaMonoPia Crow Bass Big Emo Rogue Bass AT Bass 2 AT Bass 3 Microwave V SynthBass2 PressCog
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NanoBass Reference Manual 59
Lurker CableRun PurpleBass Big Stick FatHybrid FatSynSlap Rez Punch TubeOBass Pyro Bass Saturnia SwarmBass 1 Tundra Additive MetalNotch 8 Bit Diamonds

HPSaw Vel2 HPSaw Vel3 HPSaw Vel4 HPSaw Vel5 HPSaw Vel6 Velo Saw 1 Velo Saw 2 Velo Saw 3 Velo Saw 4 Velo Saw 5 VeloSawUK MiniSquare oh3Rez Sqr Sqr Fltr 1 Sqr Fltr 2 Velo Sqare oh3 Velo Bass Wave1 Wave Pure Sine Bass Wave2 Mini Tri Bass Wave3 Tri Filter FretlsTone Velo Tri HP Wave 1 Mini Saw HP Wave 2 Filt Saw HP Wave 3 oh3 Saw HP Wave 4 Diet Saw HP Wave 5 Notch Saw HP Wave V1 Band Saw HP Wave V2 RezSaw UK HP Wave V3 RezSaw USA HP Wave V4 Saw Fltr 1 10% Pulse Saw Fltr 2 20% Pulse Saw Fltr 3 50% Pulse Saw Fltr 4 Velo Pulse Saw Fltr 5 BrightSync Saw Fltr 6 Hard Sync Saw Fltr 7 Rectanglar HipassSaw1 HSync/Rect HipassSaw2 Metal Wave HipassSaw3 OctLoc Wav HipassSaw4 Rez Sync HPSaw Vel1 Ring Mod 70 NanoBass Reference Manual HP Swp V1 HP Swp V2 UniBass 1 UniBass 2 UniBass 3 UniBass V1 UniBass V2 UniDist 1 UniDist 2 UniDist 3 UniDist V1 UniDist V2 Uni Rez 1 Uni Rez 2 Uni Rez 3 Uni Rez V
RingMod V1 RingMod V2 Additive 2 Cognitive Inharmonic Digital 1 Digital 2 Digital 3 Digital 4 VeloDigitl Science 2 Science 4 J Pad M Pad X Pad Velo Pad 1 Velo Pad 2 Velo Pad 3 MWave
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4: MIDI RULES

The Basics The Not-So-Basics MIDI Implementation Chart
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The Basics

The NanoBass receives on one MIDI channel at a time, which is set by the CHANNEL knob on the front panel. During MIDI playback you can change categories and programs at any time, either by sending Bank Select or Program Change messages, or by turning the CATEGORY or PROGRAM knobs on the front panel. There are 256 programs in the NanoBass. But there are only 128 MIDI program numbers (000-127). To make it possible to activate any of the 256 programs via MIDI, they have been separated into two BANKS of 128 programs each. The first bank is selected by sending a Controller 0 command (Bank Select) with a value of either 0 or 1. This bank consists of the eight categories listed on the right side of the CATEGORY knob: Acoustic Fretless / Harmonic Elec 1 Elec 2 Elec 3 Funk Acid House The second bank is selected by sending a Controller 0 command (Bank Select) with a value of 2. This bank consists of the eight categories listed on the left side of the CATEGORY knob: Rap Industrial Synth 1 Synth 2 Synth 3 Layer Drone Effect

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PLEASE NOTE: Its possible to get confused here, if you dont pay attention, by the interaction of the CATEGORY knob and incoming MIDI Program Change commands. First, when you send Bank Select and Program Change commands, the front panel knobs dont move. This means that you could easily be playing ACID 1 via MIDI, say, while the two knobs point toward RAP 12. Dont be fooled. Secondly, the latest Bank Select command that the NanoBass receives, either from its front panel or over MIDI, is what it pays attention to. For an example of this, consider the following situation. Using MIDI, you select Bank 1 and a certain program you like. Then someone comes along (while you arent looking) and turns the CATEGORY knob to one of the Bank 2 categories. Now Bank 2 is selected, and if all you send the NanoBass is a Program Change command (instead of a Bank Select followed by a Program Change) you wont get the program you wanted. Instead, youll get the same-numbered program in Bank 2. TIP: Because of this, I suggest that you always send both a Bank Select command and a Program Change command, together, when controlling your NanoBass via MIDI. CONTROLLER 0 vs. CONTROLLER 32: Some sequencers automatically use Controller 32 commands for selecting banks on an instrument. Please be aware that the NanoBass does not respond to Controller 32 commands. The only way to select banks on a NanoBass via MIDI is to use Controller 0.

The Not-So-Basics

I mentioned earlier that using MIDI gives you real-time control over lots more program parameters than you can adjust from the front panel. Here Id like to encourage you to experiment with just that. Sending Mod Wheel data, for example, does some very neat things in various programs. In some (like most of the electric pianos) it will adjust tremolo. In organs it will speed up and slow down the lezlie speaker effect. In other programs it will open the filter for a nice waaah sound. Try it and see.
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The bass or so youve been told so many times some of you believe it is part of the rhythm section. Its primary job is to pump the beat, its secondary job is to reinforce the dominant, and its tertiary job is to stay out of the way of its sonic betters. But it can be so much more, even while doing all those things superbly. To help keep you out of the rut, I offer you the following brief set of reassuring facts, factoids, tips, and outright cheats. My music teachers wont recognize any of these, but theyve proven awfully useful in the real world. * If it doesnt work the first time, do it again (brevity may be the soul of wit, but repetition is the soul of recognition). * If it works the second time, go for three. * If it works the third time, do something else. You are a guest in your audiences head, and the adage about fish and visitors applies. * There are no wrong notes, chords, or rhythms. Only incomplete ones. * When in doubt, play forcefully. When assured, play light. * If you have a trick you especially love, DONT USE IT. * Use effects sparingly, like pepper in rich soup. * Melody is what happens when you write a sentence using notes. * Harmony is what happens when words in your sentences have two meanings. * Structure is what happens when other people think you know what youre doing, whether you really do or not. * Your mother will still love you at tempos below 160. * Do that other thing. You know that one. * Listen to a bass player you hate, and then never do anything that they do. * Listen to a bass player you really really like, and then never do anything that they do. NanoBass Reference Manual 79
* Study the bass role in other musical forms: like the bass clarinet and bassoon, or trombone and tuba, in orchestral writing; or the bass voice in vocal works (Handels Messiah; anything by the Bobs, the Nylons, or Bobby McFerrin; any doo-wop groups or barbershop quartets); or the synth bass in dance music. * Break your favorite bass lines and solos down into small sections. Put those sections on flash cards, shuffle the cards, and follow their lead. * Play either a high-hat or bass drum with one foot while playing your bass lines. When this is no longer challenging, sit down and use your two feet to play both. * Focus on smaller and smaller elements. Play a single note repeatedly, trying to pull some meaning out of the rhymic and timbral variations. Or play quarter notes at a relentlessly slow tempo and search out melodies that are interesting to you anyway. * Edit your sequences to remove one of the strings, losing all the notes that would have been played on a real bass minus its E, A, D, or G. * Deliberately listen to music you dont like, and force yourself to understand something in it (you can make this rationalization up if you want; in fact, more points if you do). * Set yourself challenges, like playing against sequenced music with chord clusters so massive there is no clear tonal center, or changes in tempo or rhythm that are tough for you to track. And, of course, as soon as they get easy makeem worse! * Play beat the clock. Set a timer and give yourself five seconds to improvise a valid musical statement. Record all attempts for later assessment, embarassment, and enlightenment. Give yourself more and more time, in five second intervals, until you can hold a coherent musical thought for a full 60 seconds. Then go back to the short stuff. * Set up a loud, simple drum machine riff in a time signature you are not comfortable with, and play along with it. For hours. * Wear a blindfold (and then edit out the clunker notes).

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* Pretend you arent you. Play the way youd imagine a character from a book or movie might play (Luke Skywalker, Raymond from Rain Man, Captain Ahab, Charles Foster Kane, Joan of Arc, Louis XIV, all three Musketeers or all three Marx Brothers). * Stare at someone you love all night long, without sleeping, and then play. * Be glad you have fingers.
NanoBass Reference Manual 81

6: CREDITS

SOUND ROM DEVELOPMENT Erik Norlander Taiho Yamada Mike Peake Bob Grey Mike Struble Athan Billias PROGRAM DEVELOPMENT Erik Norlander Taiho Yamada Mike Peake Andrew Schlesinger Eric Moon SOFTWARE Grant Kraus Marcus Ryle Michel Doidic MECHANICAL DESIGN David Douglass Ron Roberts Rick Souffle ELECTRICAL DESIGN Chris Asmus John Hancock Mike Murphy ASIC DESIGN Frank Thomson Grant Kraus TECHNICAL ASSISTANCE Craig Devin.and thanks to KEITH BARR, for believing in the vision. 82 NanoBass Reference Manual
NanoBass Reference Manual 83

EP-2M MIDI BASS PEDALS

Before you try to make any changes please read this manual, but go ahead if you are familiar with the buttons and menus on most synths, you wont hurt anything, but be careful if you program any Special events, they need further reading. DO NOT CARRY YOUR BASS PEDALS BY THE KEYBOARD PEDALS. REMEMBER, ITS A MUSICAL INSTRUMENT AND YOU WILL LIKELY CAUSE PEDAL MISALIGNMENT OR DAMAGE. These Bass Pedals have been designed with the performer in mind. They are the result of much work and you will find that in time, the true potential is endless. Please note, for those who just want to plug in and get started. 110V AC SUPPLY ONLY In it's 'ready to go' state, you will find that the Bass Pedals play; * On Midi Channel 1 * The Keyboard sending notes C0 to C1 * The 2 RED LED buttons sending program changes 20 and 53, Fretless #5 and Electric2 #6 on an Alesis Nanobass * The front three YELLOW LED buttons are assigned to be (from right to left); OCTAVE up/down, and will transpose the keyboard up by 1 octave. This is an internal Special function. HOLD on/off. This is an internal Special function. MONO on/off. This is an internal Special function. * The rear YELLOW and GREEN buttons are to select a MEMORY and return to PLAY (See Memory Select Menu). * The right Controller will increase or decrease the Effect on an Alesis Nanobass (CC#12). * The left Controller (if fitted) will increase or decrease the Modulation (CC# 1). * If an Expression Pedal is connect to the rear pedal jack of the Bass Pedals it will control the Volume (CC# 7). You can re-program every button (except for PLAY and MEMORY), key and controller on your Bass Pedals to perform any midi function if you prefer, but read the rest of this manual before starting. The Menu System All settings are performed with a MENU system, which
is navigated using the DOWN and UP buttons to choose a Menu Item, and the MENU button to enter that Menu item. The STORE/CURSOR button becomes the CURSOR button whilst a MENU is Selected, otherwise it is the STORE button. Holding down the STORE button for 2 seconds will save the settings. The CURSOR button is used, once you are within the desired MENU item, to move the cursor to the required parameter, while the DOWN/UP buttons will alter that parameter. For those who have synths and keyboards, you will find this a normal set up. Here is a description of the menu system. If you do not see a Menu Item on the bottom line of the screen, press the MENU button to exit the current Menu item and return to MENU Selection. Use the DOWN/UP buttons to scroll through the various items on the Menu. --------------------------------------------------------PLAY Press the MENU button to enter the PLAY section. You can also enter the PLAY Menu by pressing the Yellow PLAY button at anytime. In this menu, five different display pages are selectable by the DOWN/UP buttons. Page 1 shows the current memory, the Controller mode and the controller status on the top line. The bottom line displays the last used button, key or controller. Go ahead and press things to see what happens. Page 2 shows an overview of the Controllers on the top line, (move the controller and see the display move) and button/keys on the bottom line, (press notes and buttons and see the effect). Page 3 shows the current memory, the Controller mode and the sent midi message, as would be found in a midi implementation chart found at the back of most manuals, on the top row, and shows the status of either keys/buttons or controllers on the bottom row. Page 4 shows an overview of just the Controllers.
Page 5 shows midi time code, if it is sent to the Midi In. The bottom line displays the last used button, key or controller. --------------------------------------------------------MEMORY SELECT Press the MENU button to enter the SELECT MEMORY section. You can also enter this Menu at any time by pressing the Green MEMORY button. NOTE : This unit is capable of storing 16 different setups in memories 1 - 16. Here you are able to recall the memory number with the DOWN/UP Menu buttons or jump directly to a memory with the 13 Notes and 3 Yellow buttons. The lowest note C is Memory 1, highest note C is Memory 13. The 3 Yellow buttons are Memories 14, 15 and 16 and their LEDs will flash to show if those memories are currently selected. For live use, you may find Memories 14-16 useful to use, as they have LED indicators. Memory recall is immediate upon moving to a memory. No further buttons need to be pressed but you must exit this menu before normal operation is resumed. The 16 buttons only become memory selectors, whilst in the SELECT MEMORY Menu. Once selected, all Editing and Storing will apply to the selected memory. You can enter this Menu by Pressing the Green MEMORY button at any time, and then selecting a memory with either the DOWN/UP buttons or the 13 notes and three Yellow buttons. You can EXIT this Menu by pressing the Yellow PLAY button to return to the PLAY Menu. --------------------------------------------------------------GLOBAL CHANNEL Press the MENU button to enter the GLOBAL CHANNEL section. This is a Global Midi Channel that will override the individually set midi channels for each button or controller. When -- is displayed, the Global Channel is off and all events will be sent with the defined midi channels stored in that memory. Use the DOWN/UP buttons to select a global MIDI channel which will be used for all buttons and controllers.

-----------------------------------------------------------CONTROL MODE Press the MENU button to enter the CONTROLLER MODE section. Use the DOWN/UP buttons to select a mode for all controllers. Normal Mode: In this mode the current position of the Controller is the value sent by midi. Pass Mode : In this mode nothing happens until you pass the last used setting. An UP or DOWN arrow symbol appears instead of the parameter bar to indicate which direction the controller must be moved to pass the previous value. The normal value bar appears when the value is "passed". Additive Mode: In this mode the controller will add or subtract from the previous value. To counteract this situation, you have to turn the Controller fully up or down to sync it with the minimum or maximum parameter value. Motorize Mode: This mode is for models with moving faders and is of little use in this model. -----------------------------------------------------------EDIT MEMORY NAME Press the MENU button to enter the MEMORY NAME section. In this menu page the memory name of the current selected memory can be edited. Use the CURSOR button to move the cursor and the DOWN/UP buttons to change the character. There is no need to store the memory name as changes are immediate. -----------------------------------------------------------EDIT KEY/BUTTN. Press the MENU button KEY/BUTTN. menu. to enter the EDIT buttons
In this menu page the events assigned to the and controllers can be edited directly.
Select the button or Controller by moving/pressing it, then use the CURSOR button select the parameter and the DOWN/UP buttons to change the value. The top line shows the button or controller number, whilst the Parameters are all on the bottom line. The parameters are : Midi Channel (1-16) (Except for Functions) Midi Event (Note, Prog, CC, etc.) Midi Event First Value (Note#, CC# etc.) Midi Event Second Value (note velocity, controller max value etc.) Mode for buttons (^=OnOff O=OnOnly T=Toggle)
All other System Realtime messages are not useful for this purpose so entering other numbers than those listed above will not accomplish anything. The last parameter is the mode and 0 for OnOnly is necessary to make sure the is no value sent when you release the button.

Event #01 - Midi Volume Aux 1 This event is used to select Sending a second volume message along with a Foot controller if it is assigned to Controller #7 (volume). The parameters are Function channel, Event Type, Function # (09 in this case), Midi channel and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 01. Move the cursor to the next parameter and choose the Midi Channel (1 - 16) for the second device that you wish to send Volume. If you leave this at 0 nothing will happen (0=Off). Dont get confused about the first parameter (Function Channel) and the Event Value being the Midi Channel on which to send the Aux Volume message. NOTE : the number is in Hexadecimal - see above for an explanation. The last parameter is the mode and T for toggle is necessary, this will toggle between 0 (off) and the value you select, in other words, switch the function On and Off. Events #02, #03, #04 - Midi Volume Aux 2, 3, 4 These events are used to Send a third, fourth and fifth volume message along with a Foot controller if it is assigned to Controller #7. They are identical to the Midi Volume Aux 1 described above, except the Function number parameter following the word Function will be #02, 03 and 04 respectively. The parameters are Function channel, Event Type, Function # (02, 03 or 04 in these cases), Midi channel and Mode. If you assign 4 buttons to Functions #01 thru #04, you can switch on/off the sending of volume to 4 extra devices on individual midi channels, from one foot controller.
There are 7 midi event types to choose. They are; Note Off - The old message for turning a note off. Note On - play a Note or end a note. AftTouch - Aftertouch, CC# - Controller number, Prog. Chg - Program Change, ChnPress - Channel Pressure, Pitchbnd - Pitchbend, Function - Internal Function Events. The first 6 events are normal midi events, and should be familiar to most users. Function Events Function Events are internal events within the pedals. Most of them are for future use for continued innovation, but here is an explanation of the ones that are currently used. All Functions are assigned by a number in the parameter immediately following the event type. All Function events MUST be on channel 1. If you forget this you WILL get unpredictable events. Event #00 - Sequencer Control These events send a System Realtime message to control midi sequencers. The messages and their functions are as follows. The parameters are the Function channel, Event Type, Function # (00 in this case), Control number and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 00. Move the cursor to the next parameter and choose the realtime number listed below. 0A send MIDI Start (from the beginning) 0B send MIDI Continue 0C send MIDI Stop

Event #05 - Program Advance A This event is used to perform a program advance function. The parameters are Function channel, Event Type, Function # (05 in this case), Midi channel and
Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function event name and edit it to be 05. Move the cursor to the next parameter and choose the Midi Channel (1 - 16) on which you wish to advance the Program numbers. The last parameter is the mode and O for OnOnly is necessary, this will ensure that no value sent when you release the button. See Function Event #0D for creating and resetting start numbers for this function.
03 = 3 half steps up.. 09 = 9 half steps up 0A = 10 half steps up 0B = 11 half steps up 0C = 12 half steps up (ie 1 octave) etc. up to 3F (about 5 octaves up) Transpose Down 40 = no effect 41 = 1 half step down 42 = 2 half steps down 43 = 3 half steps down. 49 = 9 half steps down 4A = 10 half steps down 4B = 11 half steps down 4C = 12 half steps down (ie 1 octave) etc. up to 7F (about 5 octaves down) The last parameter is the mode and T for toggle is necessary, this will toggle between 0 and the value you select, in other words, switch the function On and Off. Event #09 - Doubling & Interval On/Off This event is used to perform doubling of the played note at an interval of your choice. The parameters are Function channel, Event Type, Function # (09 in this case), Interval Amount and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 09. Move the cursor to the next parameter and choose the interval for the second note. If you leave this as 0 nothing will happen. NOTE : the number is in Hexadecimal - see above for an explanation. The last parameter is the mode and T for toggle is necessary, this will toggle between 0 and the value you select, in other words, switch the function On and Off. Event #0A - Auto Volume On/Off This event is to switch on and off auto volume. This will activate the sending of the current volume setting (assuming you have a controller set to controller #7) after every Program Change on the same midi channel. This will ensure that all sounds chosen will always be the volume that you are currently set at, rather than any pre-programmed volume in the keyboard/synth. The parameters are the Function channel, Event Type, Event # (0A in this case), Switch On Value (any number except 0 to switch the function on) and Mode.

Events #06 #07 - Program Advance B & C These events are used to send Program Advances on a second and third Midi Channel. They are identical to the Program Advance A described above, except the Function number parameter following the word Function will be #6 and #7 respectively. The parameters are Function channel, Event Type, Function # (06 or 07 in these cases), Midi channel and Mode. You can assign up to 3 buttons to Function #5 thru #7 to perform Program Advances on 3 individual midi channels. See Function Event #0D for creating and resetting start numbers for this function.
Event #08 - Transpose & Amount On/Off This event is used to perform the internal transpose, primarily for an Octave button. The parameters are Function channel, Event Type, Function # (08 in this case), Transpose Amount and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function event name and edit it to be 08. Move the cursor to the next parameter and choose the amount to transpose, according to the details below. NOTE : the number is in Hexadecimal - 00 to FF (count 0 to 9, then A to F, total 16). For example 0C is 12, so will transpose 12 notes and will give you an octave up, 16 is 24 notes up and will give 2 octaves up. You can set this second parameter to produce both up or down transposes as follows. Transpose Up. 00 = no effect 01 = 1 half step up 02 = 2 half steps up
Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 0A. Move the cursor to the next parameter and choose any number, 1 will do fine. If you leave this as 0 nothing will happen. The last parameter is the mode and T for toggle is necessary, this will toggle between 0 and the value you select, in other words, switch the function On and Off.
any number, 1 will do fine. If you leave this as 0 nothing will happen. The last parameter is the mode and T for toggle is necessary, this will toggle between 0 and the value you select, in other words, switch the function On and Off.

Event #0D - Program Advance Reset This function will Set the start numbers for Program Advances A, B and C. The parameters are the Function channel, Event Type, Function # (0D in this case), Program Number and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 0D. Move the cursor to the next parameter and choose the first number for the Program Advance Functions. You can Program as many buttons with this function as you want to create start points for your Program Advances. The last parameter is the mode. There are two modes that can be used here. O for OnOnly, will set the Program Advance to the Event Value number, every time you press the button. T for toggle will Toggle between the Event Value number and 0 which may be useful if you arrange your programs accordingly. No program changes are sent with this function, the new Start Number will be sent when you next press a Program Advance Button
Event #0B - Mono Triggering On/Off With this function, the pedals will force the synth to play only the current note and cancel all others. This is useful for live work where it's harder to be accurate and will eliminate the accidental 2 notes together. Also you can choose or edit a sound that has a natural sustain envelope (rather than use midi sustain) and use this Mono function to ensure the single note playing. The parameters are the Function channel, Event Type, Function # (0B in this case), Switch On Value (which will be any number except 0 to switch the function on) and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 0B. Move the cursor to the next parameter and choose any number, 1 will do fine. If you leave this as 0 nothing will happen. The last parameter is the mode and T for toggle is necessary, this will toggle between 0 and the value you select, in other words, switch the function On and Off. NOTE - On some synths this will NOT override the Sustain controller command correctly. Some synths will allow chords until the next single note. Event #0C - Hold On/Off With this function, the pedals will hold a note until you press the next note. It's a bit like sustain (controller #64) except it is dealt with internally and works with all sounds. This function will only allow one note at a time to play. You can think of this as monophonic sustain. The parameters are the Function channel, Event Type, Function # (0C in this case), Switch On Value (any number except 0 to switch the function on) and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 0C. Move the cursor to the next parameter and choose

Event #0E - Midi Sustain Aux 1 This event is used to select Sending a second sustain message along with any button assigned to Controller #64. The parameters are Function channel, Event Type, Function # (09 in this case), Midi channel and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be 01. Move the cursor to the next parameter and choose the Midi Channel (1 - 16) for the second device that you wish to send Sustain. If you leave this at 0 nothing will happen (0=Off). Dont get confused about the first parameter (Function Channel) and the Event Value being the Midi Channel on which to send the Aux Sustain message. NOTE : the number is in Hexadecimal - see above for an explanation.
The last parameter is the mode and T for toggle is necessary, this will toggle between 0 (off) and the value you select, in other words, switch the function On and Off. Event #0F, #10 - Midi Sustain Aux 2, 3 These events are used to Send a third and fourth sustain message along with the Foot Pedal if it is assigned to Controller #64. They are identical to the Midi Sustain Aux 1 described above, except the Function number parameter following the word Function will be #02 and #03 respectively. The parameters are Function channel, Event Type, Function # (0F or 10 in these cases), Midi channel and Mode. If you assign 3 buttons to Events #0E thru #10, you can switch on/off the sending of Sustain to 3 extra devices on individual midi channels, from one button. Event #11 to #4F - Play a Four note Chord. These events are used to play a four note chord, according to the Chord Library Chart. The parameters are Function channel, Chord # (any number from 11 to 4F), Chord Velocity and Mode. Move the cursor to the first parameter and make sure it is Function channel 1. Move the cursor to the Second parameter and change it to Function, move the cursor to the parameter after the Function name and edit it to be the number of the chord you want assigned to the key/button as shown on the Chord Library Chart. Move the cursor to the next parameter and choose the velocity for the chord (1 = minimum, 7F = maximum). If you leave this as 0 nothing will happen. NOTE : the number is in Hexadecimal, 40 = 64, 7F = max, 01 = min. The last parameter is the mode and ^ for On/Off is necessary, this will play as a keyboard should (on when pressed, off when released). When you play the chords, the HOLD function will hold the chord, and the Transpose Function will alter the pitch of the whole chord. You will also find that you can also play/add single notes as well as the chord, if you have keys assigned to Note On.

Press the MENU button to enter the EDIT CONT. NAME section. In this menu page the names and number formats can be edited for every Controller. Select the Controller by moving it, then use the CURSOR button to select the parameter and the DOWN/UP buttons to change the value. When the cursor is on the name fields, the up/down buttons will change the character, pressing the cursor button again will advance to the next character. When the cursor is on the last parameter to the UP of the LCD screen you can change the numbering display format for the controller. Use the Down/Up buttons to change the mode and move the desired controller to see the display you will get. For example you may not want the normal 0-127 numbers and would prefer -64 to +64 with 0 as center, to better display Dry/Wet reverb mix or Pitch-bend. There are these options; Override (just show Controller #?? and numbers in decimal) Hexadecimal 00 to 7F Hexadecimal Centered -40 to +3F Decimal 0 to 127 Decimal Centered -64 to +63 Hexadecimal with Indicator 00-7F Hexadecimal Centered with Indicator -40 - +3F Decimal with Indicator 0-127 Decimal 64 Centered with Indicator -64 - +63
----------------------------------------------------------COPY MEMORY
Press the MENU button to enter the COPY MEMORY section. In this menu the current memory can be copied to another memory. If the current memory is not the one you want to copy, go to the MEMORY SELECT section to select the current memory, then return to this section. The target memory can be selected with the DOWN/UP buttons. Hold the STORE button for 2 seconds to start the copy procedure. ----------------------------------------------------------
Make sure all these Function functions are on Function channel 1, the other Function channels are reserved for future use. ----------------------------------------------------EDIT CONTROLLER NAME

MIDI CONFIG.

Press the MENU button to enter the MIDI CONFIG. section. Page 1 : The MIDI merger allows incoming data received at the MIDI IN to be merged with the Pedal data transmitted to the MIDI OUT. This means that the MIDI OUT will be both a MIDI THRU and a MIDI OUT at the same time.
Note: To-COM option is for larger systems involving huge organs and pipes and should be ignored in this Model.
-------------------------------------------------------------SEND SYSEX.
Press the MENU button to enter the SEND SYSEX. section. This menu is for saving your memories to a System Exclusive storage device or your computer, for safety backup or transferring a memory to another of the same device. In this menu the device ID can be selected. This is only useful if you have more than one Pedal unit and dont want to send a memory dump to the wrong unit by mistake. If you do set the device ID when sending data, only a unit with the same device ID will receive it. Bear this in mind if you try to put back a memory and wonder why it is not working. Press STORE to start the System Exclusive memory dump of the current memory. --------------------------------------------------------------Here is a list of all the available controller numbers.

Chord Chart

Chord # 19 1A 1B 1C 1D 1E 1F 2A 2B 2C 2D 2E 2F 30
Chord name C Maj C#Maj D Maj D#Maj E Maj F Maj F#Maj G Maj G#Maj A Maj A#Maj B Maj
Chord # 39 3A 3B 3C 3D 3E 3F 4A 4B 4C 4D 4E 4F
Chord name C7 C#7 D7 D#7 E7 F7 F#7 G7 G#7 A7 A#7 B7
NOTE:Diminished Chords. There are really only 3 diminished chords, so use the 3 diminished chords at 3D, 3E & 3F to obtain the following chords.
D#dim E dim F dim F#dim G dim Use 3D Use 3E Use 3F Use 3D Use 3E G#dim A dim A#dim B dim Use 3F Use 3D Use 3F Use 3F
Augmented Chords. There are really only 4 Augmented Chords, so use the augmented chords at 3D, 3E, 3F, 40 to obtain the following chords.
C sus4 C#sus4 D sus4 D#sus4
C min C#min D min D#min E min F min F#min G min G#min A min A#min B min

C dim C#dim D dim D#Aug5

C min7 C#min7 D min7 D#min7 E min7 F min7 F#min7 G min7 G#min7 A min7 A#min7 B min7 G Aug5 Use 40 B Aug5 Use 40 E Aug5 F Aug5 F#Aug5 Use 3D Use 3E Use 3F G#Aug5 A Aug5 A#Aug5 Use 3D Use 3E Use 3F
If you need any help, email Keith at basspedals@yahoo.co.uk If its an emergency call Keith on 1-209-476-7196
E sus4 F sus4 F#sus4 G sus4

C Aug5 C#Aug5 D Aug5

This chart shows you the Function Numbers to use to assign a 4 note chord to a Button. You will see that there is a pattern to the system, almost all C chords end in 1, G chords end in 8 etc. You will soon get used to the numbering system.